The project, finalized in 2008, is a reinterpretation of an educational institution as miniature museum, with winding pathways, spaces that communicate in an extroverted manner and various centers of attention, scattered along the way. The fact that this mechanism makes use of solar energy, rain-water collection and carbon emission limitations, is extra proof of the design’s contemporary stance regarding ecological performance, a field in which Foster and Partners excel. By opting for a three-bodied building composition, the authors created a symmetrical circuit that creates a series of niches, with varying degrees of intimacy. The classrooms and study areas are situated inside two triangular islands, rounded towards the top. A great openness towards communication of spaces that are frequently used by students is a requirement achieved by constructing a triangular atrium defined by circulation pathways on the upper level of the console. Thus, the open computer “hall” becomes a sort of teaching gallery, similar to exhibition spaces in a museum, where visual dialogue includes all the classrooms and laboratories (a total of 38 halls).

The architectural project started from the idea of designing a family house on two levels (ground floor and first floor), with three bedrooms (one of which had to be able to support several functions), a garage for two vehicles and an outdoor pool. The chosen site measures 1 300 sqm and is situated on the south-western slope of a hill, in an area with very few buildings, offering a panoramic view on the mountains (Tâmpa and Postăvarul) and on the historical center of the city of Braşov. The built surface only takes up 160 sqm, the main functioned being found at the upper level, whereas the ground floor is occupied by the garage and annexes. The modern architectural theme is visible in the volume's composition: a series of prysms that are superimposed , cut out or hollowed (in order to host a series of loggias) Considering that the first floor's surface is visibly larger than that of the ground floor, two options arose: either supporting the first floor on the ground, through pillars, or placing it in console. The client's wish for the transition spaces (inside to outside) to be roofed eventually led to the choice of the console solution, and the result is spectacular through its unusual size.

Few cities have exploited their architecture in such a complex and profound manner as Barcelona, proving both an understanding of the economic potential of tourism as well as the necessity to communicate a certain identity of the city. Many recovered buildings and areas, whose functions were designed anew, testify to the city’s dynamic life and intelligent continual transformation. The well-known Passeig de Gracia Boulevard, one of the busiest areas in Barcelona, offers a recent example: the transformation of a bank headquarter, with monumental, fascist inspiration architecture, into a luxurious hotel with visually spectacular semi-public spaces and cosmopolitan interiors, a re-invention of the “Grand Hotel” concept. The passage from a financial function building to a touristic attraction was not an easy one, but at the end of the day, spaces were harmoniously distributed and managed to cover all the necessities of a high-class hotel: the two levels of the basement are reserved in part for utility chambers, depositing and staff rooms, while part of the space hosts a spa center, with a generous surface and numerous facilities; the reception area, foyer, a restaurant and a bar are situated on the ground floor, occupying a total of 1300sqm; floors 1 through 8 house 98 guest rooms and the 9th floor is reserved for the presidential suite; the rooftop terrace is complete with an open-air swimming pool.

The interior design project is based on classic bistro elements, such as tables with cast iron legs, a bench, floor tiles with floral motifs, wine shelves. To all these, the architect ingeniously added contemporary touches, such as wall lamps designed by Tom Dixon, Navy chairs or the Taraxacum lamp from Flos. Most of the furniture - the bookcase behind which the bathrooms are hidden, the bar at the entrance and the wine shelves - was custom designed and manufactured for the restaurant. Furthermore, the architect's (already renowned) experience in retrieving objects from small houses or abandoned cultural/industrial spaces made itself known again: the metal framed window near the kitchen was found in a former 1920's factory and was adapted, making as few changes as possible, to the arcade inside the restaurant. All of these elements and details are brought to life through a clever and creative use of lighting, mostly halogen spotlights, highly appreciated by the architect for the quality of the light they offer, joined by many other objects, mostly playing an ornamental role.

Casa Băniei, or "The Old Lady", as the locals lovingly dub it, is the oldest example of civil architecture in Craiova, its history becoming one with that of the city itself. Bearing an inestimable value, both architectural and historical, but lying in a state of advanced decay, the monument went through a thorough restoration process, completed in the summer of the last year. During the restoration process, no interventions were made on the monument's planning and architecture and the accent was set on adopting a series of conservational measures, including the elimination of factors leading to the decay of various elements, such as humidity and bio-degradation. Therefore, interventions were made on decaying components of the carpentry, on the facades, finishes and the wooden framing. Furthermore, an important objective was achieved through the retrieval of the tiled roof, based on the original materials.